Exploring Editors' Royalties: Recognising the Writing in Editing

As an editor, I have always loved the art of storytelling - how choices in the editing room can form the story and tug at our hearts in a film or series. Recently, at the Australian Screen Editors' Cutting It Editing Festival, I joined a thought-provoking discussion. It was a chat between ASE President Danielle Boesenberg and Claire Pullen., Executive Director of the Australian Writer's Guild. They dug into a fascinating topic: should editors get royalties and be seen as writers of films?

ASE president Danielle Boesenberg in conversation with AWG Executive Director Claire Pullen (2024)

Editors as Writers: A European Perspective

In some places in Europe, editors are seen not just as technical experts but also as film writers. This view comes from seeing editing as a creative act, much like writing a script. Editors shape the story, refine the pacing, and many times rewrite the story in post. So, in a few countries, editors get paid royalties, just like writers, for their work in the final film or series.

In places such as France and Germany, editors might get a share of royalties when a film airs, goes online, or is monetised in other ways. This highlights the cultural value placed on editing as a key part of telling stories.

AWGACS: Supporting Creative Professionals

Here in Australia, the Australian Writers' Guild Authorship Collecting Society (AWGACS) is a vital organisation advocating for royalties and residuals for writers. They collect and distribute royalties for screenwriters when their work is used in places that pay for copyrights. This group is key in helping creators get compensated fairly for their work.

Many editors might not know they can join AWGACS too. This is big now as more talk about editors' rights as authors is happening. The best thing? It's free to join for eligible editors, so it's an easy choice for anyone wanting to learn about their rights as a creative contributor. Join AWGACS here. Join AWGACS here.

Why This Matters

Recognising editors as writers isn’t just about financial compensation—it’s about valuing the unique role editors play in the filmmaking process. Editing is where the story often comes alive, where choices about structure, tone, and character development are solidified. By acknowledging this, we elevate the craft of editing and advocate for a more equitable distribution of creative credit.

The session at the ASE's Cutting It Editing Festival left me inspired to delve deeper into this topic and to encourage other editors to explore opportunities for recognition and royalties. Joining organizations like AWGACS is a practical step toward ensuring that editors are part of these critical conversations.

How to Get Involved

If you’re an editor, consider signing up with AWGACS to learn more about your rights and potential royalties. Membership is free, and it opens the door to understanding and advocating for fair recognition in the industry. As I have worked in the UK for a lengthy period of time, I am also a member of Screen Craft Rights, a Collective Management Organisation representing the copyright interest of film and television craft authors. If you have worked in the UK, there's a good chance you have payments waiting to be collected. Productions that have payments due are listed by Screen Craft Rights here. If you are an editor and your name is on this list, contact Screen Craft Rights on 07861 411194 or by email at info@screencraftrights.org. to collect your payments. As the dialogue around editors' contributions evolves, being informed and proactive is key to shaping the future of our profession.